Love Actually? The Musical Parody is All I Want For Christmas

Love Actually? The Musical Parody

Love Actually? The Musical Parody Rating

Click if you liked this article

Twinkling lights and Christmas tunes greet you as you weave your way through the theatre. Humming along to Feliz Navidad after posing for a photo op like you are debuting the red carpet, you finally get comfortable in your seat. Front row or humble rear seats, the site leaves you breathless:

Before wide-eyed and smiling patrons, the stage transports you into the heart of the iconic Christmas rom-com. Love or despise the characters, storylines and actors that make Love Actually a Christmas special, the contagious cheer and excitement elicited from the reminiscent depiction of the Christmas school concert is contagious. Christmas trees, tinsel, lights, presents and two doors that hold the keys to the exploration of notable characters and questionable notions of love ensures a night to remember.

Comprised of an ensemble of six talented actors that emulate the subtle mannerisms of the renowned actors of the film, it feels as if Hugh Grant, Bill Nighy, Emma Thompson, Kiera Knightley, Colin Firth, Chiwetel Ejiofor and the late Alan Rickman have materialised. William Kasper, Nicole Kaminski, Benjamin Hambley, Dylan Hodge, Stephanie Beza and Ashton Simpson launch the audience into a whirlwind of emotions – humour, surprise and happiness. If parody is a new venture for attendees, then Love Actually? The Musical Parody is the place to be. Clever and vulgarly quick-witted, the musical production takes flight in throwing subtle shade at actor’s for their notorious rom-com lineage and their not-so romantic antics, while featuring their more iconic roles in popular culture to enhance the absurdity of their character’s dilemmas.

 

 

The outrageous and belly-laugh-inducing antics continue throughout the musical production through catchy, original songs that act as a throwback to iconic music of the 2000s, as well as the not-so-subtle innuendo associated with the beloved characters and iconic moments. Although humour and jokes carry the show from start to finish, the parody production offers the audience a chance to reflect on the crucial question guiding the show – is this love, actually? While watching the characters fumble through unrequited and requited love, barriers in language and culture, or searching for ‘love’ abroad, the audience explores what love actually means – rather than accepting the definition presented by the film’s glamorous stars and flashing lights we were told to believe all those years ago.

Love Actually? The Musical Parody is bold, hilarious and is sure to make you leave the theatre with laughter trailing behind you. Regardless of your perceptions of the original film, the exploration of the staple Christmas movie is sure to make your thoughts and opinions of the storyline feel validated.

Think professing your love to your best friend’s wife through a cardboard montage is a tad creepy?

Maybe you are not the only one.

Should Emma Thompson have been granted justice after Joni Michell’s CD greeted her trembling grin, rather than a beautiful necklace she believed was her Christmas gift?

Perhaps you should attend to find out.

To book tickets to Love Actually? The Musical Parody, please visit https://loveactuallymusicalparody.com/.

Spread the word on your favourite platform!

Holiday Inn – A Holly Jolly Christmas Classic

Irving Berlin's Holiday Inn

Irving Berlin’s Holiday Inn Rating

Click if you liked this article

2

The Holiday Inn at Riverside Theatres Parramatta is a must-add to your Christmas schedule. Irving Berlin’s Holiday Inn, a Christmas classic will drift you into the magical Christmas season and inject you with festive cheer. If you’re not yet into the swing of the Christmas festivities, this spectacular musical will surely heighten your Christmas spirit.

The director Sally Dashwood has created a fabulous adaptation of the 1942 American musical beautifully capturing its warmth and charm. Dylan Pollard, as Music Director, sensationally delivered the fabulous musical score written by Irving Berlin along with the cast of seasoned professional singers and musicians. The show is fueled with many of Berlin’s well-known jazzy showstopping numbers such as “Blue Skies” and features the heartwarming Christmas carol we all know and love —”White Christmas.”

The choreography by Veronica Beattie George was a highlight throughout. The jazzy score leant itself to incorporating plenty of fabulous tap routines and partner dancing. The small ensemble of five gifted performers worked tirelessly to enhance and elevate the show. They executed the choreography with the greatest of talent and finesse, showcasing intricate tapping sequences, partner lifts and turns, and dazzling tricks. Their high energy and enthusiasm never faltered and they illuminated the stage from the moment the show began.

 

 

The leading character, Jim Hardy was delivered by Rob Mallet. His vocals were outstanding and I thoroughly enjoyed his rendition of Blue Skies and White Christmas which are two of my all-time favourites. The leading lady, Linda Mason, was played by Mary McCorry. McCorry’s performance was mesmerising; she not only stunned the audience with her angelic vocals but harnessed her 1940s Hollywood character with utmost conviction. Also at the side of Jim Hardy, and the somewhat ‘gelling agent’ between characters, was Louise Badger. This amusing character was presented by Paige Fallu. Fallu was utterly engaging and skillfully comedic; she held the audience in the palm of her hand.

The larger-than-life diva, Lila Dixon, was played by Paloma Renouf. Renouf injected heart and energy into this sassy role and she delivered a captivating performance alongside her fabulously talented dance partner, Ted Hanover, presented by Max Patterson. Patterson was absolutely electric on the stage. His dancing, predominantly tap, was utterly superb and he oozed pizzazz and stage charisma.

As beautifully quoted in Holiday Inn, “Now and then it’s good to pause in our pursuit of happiness and just be happy.” And so I urge you to rally your friends and family and take a pause to relish in the splendour of The Holiday Inn and – be happy! Don’t miss out on this heartfelt, holly-jolly classic musical.

To book tickets to Irving Berlin’s Holiday Inn, please visit https://riversideparramatta.com.au/whats-on/irving-berlins-holiday-inn/.

Spread the word on your favourite platform!

New Performances On Sale For The Hit Broadway Musical Anastasia In Sydney

Feature-ANASTASIA

Tickets go on sale to the general public this Friday for new performances of the highly-anticipated major musical ANASTASIA, which will open at Sydney’s Lyric Theatre from 7 April 2026. The hit Broadway musical will have its Australian premiere at the Regent Theatre in Melbourne in December 2025 before touring to Perth and Sydney. Presented by John Frost for Crossroads Live and Opera Australia, tickets go on pre-sale for Sydney season new performances – from 24 June to 5 July 2026 – to those who have signed up to the waitlist today and to the general public on Friday 12 December.

Inspired by the mysterious tale of Grand Duchess Anastasia Romanov’s rumoured escape in the dawning days of the Russian Revolution, and the 20th Century Fox animated fairytale of the same name, ANASTASIA has been brought to life on the stage by the Tony Award-winning creative team of Terrence McNally, Stephen Flaherty and Lynn Ahrens.

ANASTASIA is a lavish musical for all ages, transporting audiences from the twilight years of the Imperial rule to the euphoria and exuberance of Paris in the 1920s, as a brave young woman named Anya sets out to discover the mystery of her past. Pursued by an army officer determined to silence her, she enlists the aid of a dashing conman and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family.

With its opulent settings, dazzling costumes, and a soaring score including musical highlights from the 1997 animated hit film, Journey to the Past and Once Upon a December, ANASTASIA is the spectacular Broadway musical about discovering who you are and defining who you’re meant to be.

There have been two films telling the captivating story of Anastasia including the 1956 film with Ingrid Bergman, Helen Hayes, and Yul Brynner and the 1997 20th Century Fox animated film, which featured a score by the musical’s creators, Ahrens and Flaherty.

Directed by Tony Award winning director Darko Tresnjak, ANASTASIA premiered on Broadway in March 2017 and played to sold out audiences for three years before productions in Germany, Spain, The Netherlands, Brazil, Mexico and Japan as well as two North American tours. It also received a Tony Award nomination for Best Costume Design in a Musical and won more than 15 major international awards including Best Musical awards in Germany, the Netherlands and Spain.

The book for ANASTASIA was written by the late five time Tony Award winning writer Terrence McNally, whose credits include Love! Valour! Compassion!, Master Class, Kiss of the Spider Woman and Ragtime.

Music and lyrics for ANASTASIA were written by the renowned writing team of Stephen Flaherty and Lynn Ahrens who have been referred to as “one of the greatest songwriting teams in Broadway history” (Chicago Tribune).

They have received theatre, film and music’s highest honours including the Tony Award, Drama Desk, Outer Critics Circle and Olivier Awards for Ragtime, as well as nominations for two Academy Awards, two Golden Globes and four Grammys. In 2014 they received the Oscar Hammerstein Award for Lifetime Achievement and in 2015 they were inducted into the Theatre Hall of Fame.

“Fantastical, intelligent, well-crafted, and exhilarating, ANASTASIA deserves a coronation!” – The Wall Street Journal

“Captivating, beautifully staged and emotionally vital. ANASTASIA hits the sweet spot!” – The Hollywood Reporter

“One of the most gorgeous shows in years! Luscious, lavish, and a joy that leaves you cheering. This is a grandiloquent feast for the senses you won’t soon forget.” – The New York Observer

ANASTASIA – THE BROADWAY MUSICAL Produced by John Frost for Crossroads Live and Opera Australia in special collaboration with Stage Entertainment Productions, Tom Kirdahy, Hunter Arnold and Dan Hinde

SYDNEY SEASON DETAILS

Venue Sydney Lyric Theatre
Season From 7 April 2026
Performance Times Tue-Thurs at 7pm, Fr-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm & 6pm (performance times vary each week)
Prices: From $69.90 (Transaction fees apply)
Bookings: anastasiathemusical.com.au or 136 100
Groups 8+ email groups@ticketmaster.com.au

Tickets for new performances go on pre-sale for the Sydney season to those who have signed up to the waitlist on Tuesday 9 December and to the general public on Friday 12 December

Regent Theatre, Melbourne from December 2025
Crown Theatre Perth from March 2026
Festival Theatre, Adelaide from August 2026

Spread the word on your favourite platform!

Carrie: The Musical – Out Of The Shadows

Carrie: The Musical

Carrie: The Musical Rating

Click if you liked this article

Once you have been through “the high school” experience, your nostalgic memories may be one of joy and laughter. Others may remember things differently. Very differently. Carrie White and Sue Snell are two such characters. At school, Carrie (Kayla Stevenson) experiences extreme bullying and continuous group harassment. She’s taunted relentlessly and humiliated by a group of kids, led by the vicious classmate and influential ringleader Chris (Jordan Miller). Sue (Emily McKenzie), Chris’ best friend, begins to realise the emotionally damaging effect that Carrie is experiencing from the groups’ cruelty. She begins to reflect on how to help Carrie regain her self-confidence, enlisting her boyfriend Tommy (Harry Moorby) in an idea to show Carrie a little kindness. Events lead to a shocking conclusion.

Carrie’s homelife is not a happy one. Over the meal table, her overprotective mother Margaret (Felicity Amos) shows intense religious fervour, smothering Carrie in lectures about her reverent devotions and how her daughter should behave. Felicity’s performance showing Margaret’s destructive fanaticism was outstanding. Her singing and stage presence where she is towering over Carrie, both physically and with her words, were so intense that I was feeling how Carrie would have been feeling – terrified!

Kayla delivered a captivating performance of Carrie, subtly changing from someone unsure and beaten, to a strong, angry girl who realises her telekinetic powers and her potential to fight back, with devastating consequences. Her opening song, “Carrie” mesmerised me, with many different tempos and styles showcasing her versality.

Jordan’s powerful portrayal of the cruel Chris was convincing; her singing and mocking attitude while ridiculing Carrie effectively revealed Chris’ scheming nature. Emily’s character Sue was at the opposite end of the spectrum. In a world where teenage followers typically conform without question, Emily’s depiction of her character’s self-awareness and decision to break away from her friends felt genuine.

 

 

Co-Directors John Hanna and Blake Williams have put together a well-crafted musical. The production team included the musical director Lindsay Kaul, and costume designer Katie Griffiths (the 1970’s clothing was funky – especially the prom tuxedos, shirt front frills and all!) I was impressed with the sound design (Kieran Vella) particularly at the musical’s introduction with the foreshadowing of the crackling fire, and use of lighting throughout the show (LKR Productions and Blake Williams) which added dramatic elements effectively. Although the use of props was minimal, Blackout Theatre Company’s use of projection (Adam Ring) on the back wall to set the scenes was effective, showing the audience without the need for revolving floors and detailed physical backdrops where everything took place.

“Carrie the Musical” is not a typical ‘feelgood show’; there are no dancing in the aisles at the curtain call and no happy endings where the hero/heroine triumphs. Although I had neither read the original novel nor seen a performance of this musical before, I knew the premise of the story. As a fan of musical theatre, I was unsure of how a horror novel could be successfully adapted into this genre. However, I was impressed by the cast and ensemble’s storytelling which, through the music (Michael Gore), lyrics (Dean Pitchford) and expert choreography by Jane Houlihan, delivered a powerful and thought-provoking experience. Kudos to the seven-person live band which made the musical so much more brighter in sound, than a pre-recorded backing ever could.

This production effectively showcased the horror of abuse and highlighted the importance of kindness and empathy. This is as relevant today in high school and life, as it was fifty or so years ago when Stephen King’s novel was first published.

The Blackout Theatre Company’s production of “Carrie the Musical” plays for three days at the Pioneer Theatre, and it seems a shame that it’s only running for a such a short run. The effort invested to create this captivating musical makes it clear that it deserves an extended season – in Carrie’s words, “…this might be the start of my journey, out of the shadows, and into the light!”

Theatre: Pioneer Theatre 12-14 Pennant St, Castle Hill
Dates: 21- 23 November 2025
Time: 2 hours, with interval
Tickets: www.pioneertheatre.com.au/whats-on/carrie-the-musical

To book tickets to Carrie: The Musical, please visit https://www.blackouttheatre.com.au/.

Spread the word on your favourite platform!